Ever wondered how pottery artists create those stunning, metallic gold accents on their pieces? The secret lies in a wonderful material known as gold luster. Today, we’re diving into the world of gold luster – what it is, how it’s used, and some key things you need to know before you start experimenting with it in your own pottery projects.
What is Gold Luster?
Gold luster is an overglaze – a decorative element applied to pottery after it’s been bisque fired and glaze fired. Its primary ingredient is gold, making up about 10-20% of the mixture. The rest is a blend of fluxes and oils. Fluxes help the gold adhere to the ceramic surface, while the oils assist in the application process.
Application and Firing
Gold luster is usually brushed onto the pottery piece, allowing you to highlight specific areas with that luxurious gold finish. Once applied, the piece goes back into the kiln for what’s known as a luster or overglaze firing. This firing is at a much lower temperature than the previous firings – around 018-020 in the Orton Cone rating system (approximately 1315-1377°F or 715-747°C).
Safety and Practicality
Before you get started, there are a few safety and practical considerations to keep in mind. Gold lusters often contain materials that can be harmful if not handled properly. Always work in a well-ventilated area when applying gold luster, and make sure to clean up thoroughly afterwards.
Additionally, while the finished product can be stunning, gold luster surfaces may not be food-safe. If you’re creating functional ware, it’s advisable to avoid placing luster on surfaces that will come into contact with food.
The Cost of Beauty
One more thing to bear in mind is that gold luster is a luxury item in the pottery world. The gold content makes it quite expensive, and it should be used sparingly. However, the impact it creates can be worth the cost – a little goes a long way in adding that extra sparkle to your ceramics.
Many of you my not know, but the casting area has been diligently meeting every Wednesday at 5pm for almost 2 years now. Some weeks we haven’t been able to get together but for the most part it has been a consistent schedule. Aluminum casting has always been a thing we have done, even back at Lenox. Since moving over the equipment we have expanded our ability to cast other Non-Ferrous metals such as Copper, Brass and Bronze. We have also expanded our capabilities to do Ceramic Shell, and Sodium Silicate Resin Bonded molds. Iron Casting has always been a goal to do when looking for the new building. We can finally say that we are ready to start up our Cupola Furnace who goes by R2V2.
The only requirement is we need to have molds made and iron broken. Until we have molds that equate to an estimated total of 500 lbs of metal, we will not be able light up the furnace.
Meet us on Wednesdays at 5pm to get signed off on mold making processes and getting signed off to use the crucible furnace. Bring a pattern to get cast or if you just want to check out the area come on by. No appointments are needed. We need your help to make molds. Premade artist tile molds are available for sale with the cost of metal included.
In addition, if you happen to see a cast iron tub, sink, or radiators on the side of the road please contact Dave to collect it. The more cast iron donations we can get the better.
Ever see a YouTube video of someone making something and have an immediate need to make one for your-self? Happens to me all the time. Last week I saw this video from creator Steven Bennett. In it he designs and builds a fume extractor designed to look like a Makita power tool.
It seamed like a fun design exercise and I have been doing a lot of soldering at home any way. I choose to make my fume extractor in the style of Milwaukee Tool for obvious reasons. This is not my first project that adopts the over molding look of a red and black power tool. SO it was also a good opportunity to have another go at DIY over molding using resin printed molds. Resin is the way to go here for a couple reasons. First the material come in clear, this means that when filling the mold it is easy to see when and where it is filling up. Second, no sanding is necessary on the interior of the mold.
I am using a Smooth-On urethane rubber colored with black pigment. On a side note the inside of the mold needs a heavy coat of mold release if you want to remove it with the part intact. I may or may not have learned that the hard way. The mold shells are held on with some clamps and then the edges are sealed with modeling clay. After the urethane is mixed it can be injected with a small syringe into a hole in the mold shell.
I’ve finally got the Autonomous WVO steam engine to the point where I can run it well enough to do some worthwhile testing. A jillion thanks to the MMS members without whose help I never could have come this far. Plenty of interesting challenges to come. See it in action here